This book examines the origin, content, and development of the musical thought of Heinrich Schenker and Arnold Schoenberg. One of the premises is that Schenkerâ€™s and Schoenbergâ€™s inner musical lives are inseparable from their inner spiritual lives. Curiously, Schenker and Schoenberg start out in much the same musical-spiritual place, yet musically they split while spiritually they grow closer. The reception of Schenkerâ€™s and Schoenbergâ€™s work has sidestepped this paradox of commonality and conflict, instead choosing to universalize and amplify their conflict. Bringing to light a trove of unpublished material, Arndt argues that Schenkerâ€™s and Schoenbergâ€™s conflict is a reflection of tensions within their musical and spiritual ideas. They share a particular conception of the tone as an ideal sound realized in the spiritual eye of the genius. The tensions inherent in this largely psychological and material notion of the tone and this largely metaphysical notion of the genius shape both their musical divergence on the logical (technical) level in theory and composition, including their advocacy of the Ursatz versus twelvetone composition, and their spiritual convergence, including their embrace of Judaism. These findings shed new light on the musical and philosophical worlds of Schenker and Schoenberg and on the profound artistic and spiritual questions with which they grapple.
Table of Contents
Part 1: Schenkerâ€™s and Schoenbergâ€™s Thinking About Music 1. The Eye of the Genius 2. The Obstacle of Interruption 3. The Trouble with Problems Part 2: Schenkerâ€™s and Schoenbergâ€™s Thinking In Music 4. Schenker the Progressive 5. The Cold Shoulder 6. Zeroing In and Zeroing Out 7. The Turning Point
Matthew Arndt, Associate Professor of Music Theory at the University of Iowa, holds a PhD from the University of Wisconsinãƒ»Madison, an MM from the University of Colorado at Boulder, and a BA with honors from Lewis & Clark College. He has previously taught at Mercer University, Lawrence University, and the University of Wisconsinãƒ»Madison. Professor Arndt primarily studies the application of insights from the history of music theory to music theory pedagogy, analysis, and criticism. He also studies technical aspects of sacred music from the Republic of Georgia.
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